LA SUITE with:

Hilaria Kramer trumpet
Florian Stoffner guitar
Pietro Leveratto doublebass
Daniel Humair drums

20 OKTOBER 14 Uhr
WARTH (TG) > In der Kartause Ittingen
Duo Performance Beatrice Graf drums-Hilaria Kramer trumpet

23 OTTOBRE ore 14
BIOGGIO (TI) > LA VIGNA, Salita ai Ronchi
Duo Performance Beatrice Graf drums-Hilaria Kramer trumpet

Homepage Transhumance!!!

Hilaria Kramer trumpet
Jean-Christophe Cholet piano
Ivor Malherbe doublebass
Marcel Papaux drums

go directly to the Festival-homepage

HELVETIAROCKT offre aux musiciennes une plus grande visibilité et une plateforme

HELVETIAROCKT è rivolta alla gente ed è presente in tutta la svizzera

HELVETIAROCKT vernetzt die verschiedenen sprachregionen

genève 20 h béatrice graf (drums, toys, electronic, voice), cosmic music
chat noir, rue vautier 13, carouge (www.chatnoir.ch)
cooperation avec le festival voix de fête (www.voixdefete.com)

luzern 20 h delilahs trash-pop-punk
jazzkantine, grabenstrasse 8, luzern (www.jsl.ch/kantine.htm)

ticino 20 h co streiff (sax) / hilaria kramer (trump), musica improvisata
osteria la fabbrica, via locarno 43, losone (www.lafabbrica.ch)
in cooperazione con jazz alla fabbrica 2010

zürich 20.20 h nadja zela / steff la cheffe / duo aeberli-zahnd
songwriter, blues, independentrock, rap, beatbox
el lokal, gessner-allee 11, zürich (www.ellokal.ch)


Centre de coordination pour musiciennes Jazz, Pop & Rock
Il coordinamento delle musiciste Jazz, Pop & Rock
Die Koordinationsstelle für Musikerinnen im Jazz, Pop & Rock

kick-off-event 8.3.2010

for more informations: www.helvetiarockt.ch

From Cadence Jazz MAgazin New York:

....Listening to music on (2) is also time well-spent. Kramer and
Cholet have a much more vertically oriented style compared to
(1) and, in their hands, that’s a good thing. Although, for the most
part, both players stick pretty close to the changes, the harmonies
are generally lush and replete with piquancies whether it be on an
original from either participant or a reworking of a standard a la
their moody retelling of “Skylark.” Kramer’s trumpet is possessed of
a warm, rich tone that recalls the lyrical middle period Miles Davis
and she spins out phrases that are alternately reflective and vital.
Cholet also gets a beautiful sound on his instrument and he controls
his flowing lines with both invention and assurance. The best part
of this CD though is the palpable chemistry and sense of conver-
sation between these two fine musicians. Although a little more
conservative in general than the acerbic probings of (1), they do
occasionally aim for more adventurous territory such as their
amusing discourse on “Audition” and the ethereal mutterings of “Loopy”
prove that “modernism” holds no terrors for them. The writing and
playing is absolutely first-rate on this CD and though the mood, as
one would expect, tends toward the cozily intimate, tracks such as
“Angry” and “Better” groove along well enough to provide neces-
sary balance to the more lyrical selections. As in the case of (1) the
writing and playing are uniformly excellent and made this reviewer’s
task a pleasant one—these Swiss don’t miss! Recommended.
David Kane

Click this link to see a slideshow of the Pics:

SEMAPHORE '09
Ensemble Sémaphore Villa Bernasconi, Lancy (GE)
Béatrice Graf, dm/compos; Hilaria Kramer, tp; John Menoud, sax/dir; Cyril moulas, g/arrang; Lucien Dubuis, bcl; Samuel Blaser, tb; Peter Schärli, tp; Bruno Amstad, voc

From Cadence Jazz MAgazin New York:

....Listening to music on (2) is also time well-spent. Kramer and
Cholet have a much more vertically oriented style compared to
(1) and, in their hands, that’s a good thing. Although, for the most
part, both players stick pretty close to the changes, the harmonies
are generally lush and replete with piquancies whether it be on an
original from either participant or a reworking of a standard a la
their moody retelling of “Skylark.” Kramer’s trumpet is possessed of
a warm, rich tone that recalls the lyrical middle period Miles Davis
and she spins out phrases that are alternately reflective and vital.
Cholet also gets a beautiful sound on his instrument and he controls
his flowing lines with both invention and assurance. The best part
of this CD though is the palpable chemistry and sense of conver-
sation between these two fine musicians. Although a little more
conservative in general than the acerbic probings of (1), they do
occasionally aim for more adventurous territory such as their
amusing discourse on “Audition” and the ethereal mutterings of “Loopy”
prove that “modernism” holds no terrors for them. The writing and
playing is absolutely first-rate on this CD and though the mood, as
one would expect, tends toward the cozily intimate, tracks such as
“Angry” and “Better” groove along well enough to provide neces-
sary balance to the more lyrical selections. As in the case of (1) the
writing and playing are uniformly excellent and made this reviewer’s
task a pleasant one—these Swiss don’t miss! Recommended.
David Kane